The English country house is at once a historical reality, an ideal and a trope in literature. Modern novels which incorporate the country house must navigate through the extensive power dynamics that permeate them. This thesis explores the way in which power operates in the country house in literature, as it is implicated with a specific set of genre conventions. Both Kazuo Ishiguro’s novel entitled The Remains of the Day and Ian McEwan’s novel entitled Atonement will exemplify this. They invoke a set of relatively traditional and nostalgic genre conventions and ideals, though they do so in order to destabilise them. Close reading and the application of relevant theory from Michel Foucault will help to establish this.